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'THE  YELLOW  KID 
VMO  LIVES  IN  HOGANfS  ALLEY 

A  BURLESQUE 


'/ 


" 


at! 


LIBRARY 

UNIVERSITY  OF  CALIFORNIA 
DAVIS 


I 


UNIV: 


IDE! 


ETHIOPIAN  AITO  COMIC  DRAMA 


THE  YELLOW  KID 

,    Who  Lives  in  Hogan's  Alley. 

A  BURLESQUE. 


By  FRANK   DUMONT, 

Autho-  of  "Mr.  Mikado,'"    "Helens  Funny  Babies,"    "The  Ram  J,  | 
Makers,"   "  McFadden's  Elopement"  etc.,  etc. 

As  Performed  for  Ten  Weeks  in  the  Eleventh-street  Opera 
House,  Philadelphia,  by  Burnout's  Minstrels. 


TO  WHICH  ARK   ADDED. 

A  Description  of  the  Costumes  -Cast  of  the  Characters— Entrances 

and  Exits— Relative  Positions  of  the  Performers  on  the 

Stage  and' the  whole  of  the  Stage  Business. 


New  York : 
THE  DE  WITT  PUBLISHING  HOUSE, 


No.  33  Rose  Street. 


COMPLETE  DESCRIPTIVE  CATALOGUE  OF  DE  WITT'S  ACTING 
PLAYS  and  DE  WITT'S  ETHIOPIAN  AND  COMIC  DRAMAS,  containing 
Costume,  Scenery,  Time  of  Representation,  and  all  other  information,  mailed 
nd  post-paid  on  application. 


ETHIOPIAN  AND  COMIC  DRAMA. 


Nothing  so  thorough  and  complete  in  the  way  of  Ethiopian  and  Comic  Dramas  has 
ever  been  printed  as  those  that  appear  in  the  following  list.    Not  only  are  the  plots  ex-  , 
celleut,  the  characters  droll,  the  incidents  funny,  the  language  humorous,  but  all  the  i 
situations,  by-play,  positions,  pantomimic  busimess,  scenery,  and  tricks  are  so  plainly 
put  down  and  clearly  explained  that  the  merest  novice  could  put  any  of  them  on  the 
stage.    Included  in  this  Catalogue  are  all  the  most  laughable  and  effective  pieces  of  their 
kind  ever  produced. 

4®=-  Any  of  the  following  Plays  sent,  postage  free,  on  receipt  of  price— Fifteen  Cents 
each. 

$®-  In  ordering,  please  give  correctly  the  title  of  each  piece  wanted. 

#*#  These  Plays  require  but  oue  scene,  unless  otherwise  stated.    The  figures  in  the 
columns  indicate  the  number  of  characters — M.  male;  F.  Female. 


No. 


M.  F. 


141.  Absent  Minded,  Eth.  farce 3 

73.  African  Box,  Eth.  burlesque,  2  sc.  5 

107.  African  us  Bluebeard,  Eth.  musical 

burlesque 6    2 

113   Ambitiou,  Irish  farce,  2  scenes —   7 

133.  Awful  Plot  (An),  Eth.  farce 3    1 

43.  Baby  Elephant,  Eth.  sketch,  2  sc.  7    1 

42.  Bad  \Vhiskey,  Irish  sketch 3    1 

79.  Barney's  Courtship,  Irish  musical 

interlude 1    1 

40.  Big  Mistake,  Ethiopian  sketch.   . .   4 

155.  Black  Brigands,  musical  burlesque  8 

6,.  Black    Chap    from    Whitechapel, 

Ethiopian  farce 4 

10  Black  Chemist,  Ethiopian  sketch..  3 
11.  Black-Ey'dWilliam,Eth.sketch,2sc.  4    1 
146.  Black  Forrest  (The),  Eth.  farce.  ..2     1 
110  Black  Magician,  Eth.  comicality  ..42 

126.  Black  Statue  (The),  Eth.  farce 4    2 

127.  Blinks  and  Jinks,  Eth.  sketch 3    1 

128.  Bobolino,  the  Black  Bandit,  Eth. 

musicalfarce 2    2 

120.  Body  Snatchers  (The),  Eth.  sketch 

2  scenes .  4 

78.  Bogus  Indian,  sketch,  4  scenes. ...  5    2 
89   Bogus  Talking  Machine,  Eth.  farce  4 
24!  Bruised  and  Cured,  Eth.  Sketch..  2 

108.  Charge  of  the  Hash  Brigade,  comic 
Irish  musical  sketch 2    2 

148  Christmas  Eve  in  the  South,  SSih. 

farce 6    2 

35.  Coal  Heaver's  Revenge,  Eth.  sketch  6 
112  Coming  Man,  Eth.  sketch,  2  scenes  3    1 

4l!  Crematiou,  Eth.  sketch,  2  scenes..  8    1 

144.  Crowded  Hotel  (The),  sketch 4    : 

140.  Cupid's  Frolics,  sketch 5    1 

12  Daguerreotypes,  Eth.  sketch 3 

53.  Damon  and  Pythias.Eth.  burlesque 

2  scenes 5    1 

63  Darkey's  Stratagem,  Eth.  sketch..  3 
13l!  Darkey  Sleep  Walker,  Eth.  sketch.  3    1 

124.  Deaf  as  a  Post,  Eth.  sketch 2 

111.  Deeds  of  Darkness,  Etu.  extrava- 

g&llZcl • ........    6      1 

139  Desperate  Situation,  farce 5    2 

159.  Dodging  the  Police,  farce 6    3 

157.  Don't  Get  Weary,  musical  sketch.  1    1 
50  Draft  (The),  Eth.  sketch,  2  scenes.  6 
64*  Dutchman's  Ghost  (The),  sketch..  4    1 

95.  Dutch  Justice,  Dutch  sketch 11 

67.  Editor's  Troubles,  farce 6 

4.  Eh  ?  What  is  it  ?  Eth.  sketch 4    1 

136  Election  Day.  Eth.  farce,  2  scenes.  6 
98  Elopement  (The),  farce,  3  scenes..  4    1 

52  Excise  Trials,  Eth.  sketch  10    1 

25  Fellow  that  Looks  like  Me,  inter 
lude.. 2    l 


No.     .  M.  F. 

88.  First  Night,  Dutch  farce 4    2 

51.  Fisherman's  Luck,  Eth.  sketch. ..  2 
152.  Fuu  in  a  Cooper's  Shop,  Eth. sketch  6 
106.  Gambriuus,  King  of  Lager  Beer, 

Eth.  burlesque,  2  scenes 8    1 

157.  Gentlemen    Coon's   Parade,    Eth. 

musical  sketch 3 

83.  German  Emigrant,  Dutch  sketch..  2    2 
77.  Getting   Square  on  the  Call  Boy, 

Eth.  sketch 3 

17.  Ghost  (The),  Eth.  sketch 2 

58.  Ghost  in  a  Pawn  Shop,  Eth.  sketch  4 
31.  Glycerine  Oil,  Eth.  sketch,  2  sc...  3 
20.  Going  for  the  Cup,  Eth.  interlude.  4 
82.  Good  Night's  Rest,  sketch 3 

130.  Go  and  Get  Tight.  Eth.  farce 6 

86.  Gripsack  (The),  sketch 3 

70.  Guide  to  the  Stage,  Eth.  sketch...  3 
61.  Happy  Couple,  farce 2    1 

142.  Happy  Uncle  Rufus,  Eth.  musical 

sketch 1    J 

23.  Hard  Times,  Eth.  extravaganza...  5    I 

118.  Helen's  Funny  Babies,  Eth.  bur 

lesque. . 6 

3.  Hemmed  In,  Eth.  sketch 3    X 

48.  High  Jack,  the  Heeler,  Eth.  sketch  6 
68.  Hippotheatron,  sketch 9 

150.  How  to  Pay  the  Rent,  farce 6 

71.  In  and  Out,  sketch 2 

123.  Intelligence  Office,  Eth.  sketch....  2    1 

33.  Jealous  Husband,  Eth.  sketch 2     1 

94.  Julius  the  Snoozer,  Eth.  builesque 

3  scenes 6    .1 

103.  Katrina's  Little  Game,  Dutch  act..  1    2 
1.  Last  of  the  Mohicans,  Eth.  sketch.  3    1 

36.  Laughing  Gas,  Eth.  sketch 6     1 

161.  Limekiln  Club  in  an  Uproar  (The), 

Eth.  farce 8    1 

18.  Live  Injun,  Eth.  sketch,  4  scenes.  4    1 
60.  Lost  Will  (The),  Eth.  sketch 4 

37.  Lucky  Job,  farce,  2  scenes 3    2 

90.  Lunatic  (The),  Eth.  farce . 3 

109.  Making  a  Hit,  Eth.  farce,  2  scenes.  4 

19.  Malicious  Trespass,  Eth.  sketch...  3 
149.  'Meriky.  Eth.  larce 3    1 

151.  Micky  Free,  Irish  sketch 5 

96.  Midnight  Intruder,  farce 6    1 

147.  Milliner's  Shop,  Eth.  sketch 21 

129.  Moko  Marionettes,  Eth.  eccentri 
city,  2  scenes 4  5 

101.  Molly  Moriarty,  Irish  musical 

sketch 1  1 

117.  Motor  Bellows,  farce 4 

158.  Mr.  Mikado,  musical  burlesque. . .  6    4 
44.  Musical  Servant,  Eth.  sketch 3 

8.  Mutton  Trial,  Eth.  sketch,  2  sc...  4 

119.  My  Wife's  Visitors,  farce 6    1 


THE  YELLOW  KID 

WHO  LIYES  II  HOGAFS  ALLEY 

A  BURLESQUE. 


BY  FRANK  DUMOOT, 

Author  of  "Mr.  Mikado,"   "Helen's  Funny  Babies,"   "  The  Bain  Makers] 
"McFadderis  Elopement,"  etc.,  etc. 


As  Performed  for  Ten  Weeks  in  the  Eleventh  Street  Opera  House, 
Philadelphia,  by  Dumont's  Minstrels. 


TOGETHER  WITH 


A  DESCRIPTION  OF  THE  COSTUMES— CAST  OF  THE  CHARACTERS — EN 
TRANCES  AND  EXITS — RELATIVE  POSITIONS  OF  THE  PERFORM 
ERS  ON  THE  STAGE,  AND  THE  WHOLE  OF  THE  STAGE 

BUSINESS. 


NEW  YORK : 

THE  BE  WITT  PUBLISHING  HOUSE, 

No.  33  ROSE  STREET. 
Copyrighted,  1897,  by  the  De  Witt  Puplishing  Company. 

LIBRARY 

UNIVERSITY  OF  CALIFORNIA 


THE    YELLOW   KID. 


CAST  OF  CHARACTERS. 

As  performed  by  Duinont's  Minstrels,  Philadelphia,  Pa. 

THK  YELLOW  KID Hughey  Dougherty. 

BALDY  SOURS Johu  E.  Murphy. 

NELSE  Charles  Turner. 

"  WAIT  TILL  IT  GETS  DAKK  " Matt  Wheeler. 

Liz,  the  girl  with  the  big  hat Dave  Foy. 

DOCTOR  PILLS j.  De  Augelis. 

HOGAN,  owner  of  the  alley James  McCool. 

SCHULTZ.  the  shoemaker Harry  C.  Shmik. 

POLICKMEN .  Dummit  and  Goldrick. 

.Kane  and  Denipsey. 


CUSTOMERS. 


CEIPPLE L.C.AIettler. 

MARKET  WOMAN Edwin  French. 

BOYS,  inhabitants  of  the  alley,  Yellow  Kid's  victims,  and  other  bits  of  humanity, 

by  the  rest  of  the  company, 
THE  KID'S  HORSE,  by  William  Goat. 


TIME— Any  time  the  KID  is  around. 


SCENE— THE  ALLEY. 


DIARGAM. 


Chamber  flat. 

1  ! 

Street  flat. 

Platform. 

Ic 

Platform. 

Wings. 

Doctor's  House. 

Trick  Stairs. 


OOOOOOOOOOOOOOC* 
A  man  works  the  stairs,  being  hidden  behind  them. 


THE  YELLOW   KID.  O 

Iii  SCHULTZ'S  room  have  a  table,  cobbler's  bench,  perch  for  parrot,  and  the  red 
flre  beyond  table,  so  that  SCHUI/TZ  can  light  it. 

In  the  lower  compartment  have  HOGAN'S  outfit— a  table,  a  chair,  tinker's  tools 
etc.  The  signs  are  fixed  to  side  of  rooms,  in  full  view  of  audience,  and  easily  at 
tached  or  detached. 


PROPERTIES. 

Old  hat,  live  goat,  harnessed  to  a  wagon ;  shinny  sticks,  stuffed  turkey  and  stuffed 
cat,  tinker's  furnace,  red-hot  soldering  iron  in  it,  and  tinker's  box  to  go  over  shoul 
der;  cobbler's  bench  with  tools,  old  shoes,  sqiiare  clock  on  table,  box  of  feathers 
and  sure-fire  pistol;  trick  fire-cracker,  stuffed  parrot,  with  mouth  to  open  and  hold 
fire-cracker;  perch  for  parrot,  old  tea-kettle  and  pair  of  boots,  stuffed  stick  for  Doctor, 
crutches  for  cripple,  baby  for  woman,  butter  balls  and  basket,  umbrella  attached  to 
stout  wire,  and  handle  built  out  to  hold  a  man;  wire  is  attached  to  rafters  above 
and  gauged  so  as  to  swing  out;  it  is  held  in  place  by  a  string  in  entrance  until  opened 
and  ready  for  use;  red  fire  on  a  pie-plate,  with  matches  and  fuse;  signs,  "Hogan, 
Tinker,"  and  "Schultz,  Shoemaker,"  with  rings  to  place  them  on  nails;  sign  over 
Doctor's  door,  "Doctor  Pills." 


STAGE  DIRECTIONS. 

R.  means  Eight  of  Stage,  facing  the  Audience;  L.  Left;  C.  Centre;  B.  C.  Right  of 
Centre;  L.  C.  Left  of  Centre;  D.  F.  Door  in  the  Flat,  or  Scene  running  across  the 
back  of  the  Stage;  C.  D.  F.  Centre  Door  in  the  Flat;  R.  D.  F.  Right  Door  in  the 
Flat;  L.  D.  F.  Left  Door  in  the  Flat;  R.  D.  Right  Door;  L.  D.  Left  Door;  1  E.  First 
Entrance;  2  E.  Second  Entrance;  U.  E.  Upper  Entrance;  1,  2  or  3  G.  First,  Second 
or  Third  Groove. 

R.  R.  C.  C.  L.  C.  L. 

jfcy  The  reader  is  supposed  to  be  upon  the  stage,  facing  the  audience. 


THE  YELLOW  KID 

WHO  LIYES  IN  HOGAFS  ALLEY. 


SCENE.— Ttie  Alley.  Set  "slippery-day"  trick  stairs,  c.,  leading  up  to 
a  landing,  which  shows  a  room  above  and  a  room  below.  The  up 
per  room  is  occupied  by  SCHULTZ,  the  shoemaker;  the  lower  room 
(stage)  is  occupied  by  HOGAN,  the  tinker.  Each  has  a  sign,  and 
in  each  room  there  are  articles  for  each  tradesman.  In  SCHULTZ'S 
room,  cobbler's  bench,  table  with  clock,  and  shoemaker's  tools. 
In  HOGAN'S  room,  a  table,  tinker's  tools,  and  a  chair. 

On  L.  side  of  stage,  a  set  piece  showing  house,  with  sign  over  the  door, 
"Doctor  Pills."  Street  flats  back  the  scene.  (See  Diagram.) 

At  opening  MBS.  SCHULTZ  is  seen  in  room  above  sewing.  A  dummy 
parrot  is  upon  a  perch  near  door  leading  to  stair  landing.  A 
lot  of  boys  are  playing  "shinny,"  among  them  BALDT  SOUKS, 
NELSE,  and  a  lot  of  funny  looking  urchins.  BALDY  strikes  NELSE 
upon  shin  with  his  shinny  stick;  NELSE  hops  and  roars  with  pain. 
Boys  laugh. 

NELSE.  Oh !  You're  all  the  time  hurting  me,  and  I  won't  play  any 
more. 

BALDY.  I  didn't  mean  to  hurt  you.  Say,  fellows,  let's  steal  the 
Dutchman's  parrot. 

NELSE.  No ;  wait  till  the  Yellow  Kid  comes. 

BALD.  All  right ;  we'll  wait  for  the  Yellow  Kid,  and  the  fellow  that 
falls  off  the  house  with  the  umbrella,  and  Liz — Liz  with  her  new  thea 
tre  hat. 

Liz  (outside,  L.  1  E.).  Hello,  fellers ! 

Enter  Liz,  with  large  hat  full  of  extravagant  flowers,  and  4-11-44  on 
the  front  of  it. 

Here  I  am.     What  do  you  think  of  my  new  hat  ?    Ain't  it  a  bute  ? 
BALD.  Where's  the  Yellow  Kid  ? 

Liz.  He's  out  riding  with  his  horse.     He's  got  a  new  horse. 
BALD.  Oh !    What  do  sou  think?    The  Yellow  Kid's  got  a  horse. 


THE   YELLOW   KID.  5 

And  here  he  comes !  Three  cheers  for  the  Yellow  Kid  !  (music,  Yankee 
Doodle,  played  quick.) 

Enter  YELLOW  Km,  seated  in  a  toy  express  wagon,  and  drawn  by  Ct 
real  goat.  The  KID  wears  large  ears,  yellow  gown,  feet  with  toes 
to  look  large ;  in  fact,  to  make  up  like  'the  YELLOW  KID  as  seen  in 
pictures.  The  TCrn  has  extravagant  business  halting  his  "horse," 
the  goat.  Everybody  gathers  around  him,  glad  to  meet  him. 

KID.  Here !  Yaller,  take  the  horse  to  the  stable,  (a  boy  leads  the  goat 
and  wagon  out  L.  1  E.  and  returns)  Now,  fellers,  we're  out  for  fun, 
and  must  have  it.  Hello  !  here  comes  Hogan.  (HOGAN  heard  to  sing 
off  B.  IE.)  Get  a  hat  and  a  brick,  somebody.  (BALDT  gets  an  old  high 
hat  and  a  brick  from  L.,  and  then  place  the  brick  c.  with  the  hat  over 
it)  Now  hide,  everybody,  (boys  all  hide  offi*.) 

'SLOGAN  enters,  R.  1  E.,  singing,  with  tinker's  box  and  furnace. 

HOGAN  (sees  hat,  c.).  Ah  !  There's  that  Dutchman's  hat.  I  wish  his 
head  was  in  it ;  I'd  kick  it,  just  like  that !  (kicks  the  hat  and  yells  with 
pain  and  hops  about.  Boys  come  out  and  laugh  at  him.  HOGAN  is 
very  angry  at  them.) 

HOGAN.  It's  some  of  your  work,  ye  Yaller  Kid.  I've  broke  my  foot, 
so  I  have. 

KID.  The  Dutchman  did  it. 

HOGAN.  I'll  have  you  all  arrested.  You're  a  lot  of  blackguards,  and 
I'll  have  you  all  in  jail  before  morning,  (he  passes  under  the  stairs 
and  enters  his  room,  grumbling  and  very  angry.  SCHULTZ  is  heard  to 
talk  outside,  L.  1  B.) 

SCHULTZ.  All  right.     I'll  see  you  subsequently  later. 

Enter  SCHULTZ,  L.  1  B.    He  has  a  large  stuffed  turkey.     As  soon  as  he 
sees  the  boys  he  becomes  shy  of  them. 

SCHULTZ.  Now,  you  boys,  go  right  away  on  your  business.  You  are 
a  bad  lot  of  boys,  and  1  don't  want  no  trouble  about  you.  (boys  gather 
about  him  exclaiming,  "Hello,  Schultz -  we're  glad  to  see  you.") 

KID.  Where  have  you  been,  Schultzie  ? 

SCHULTZ.  I  was  raffling  for  turkeys,  and  I  won  dis  turkey. 

KID.  How  much  does  it  weigh  ? 

SCHULTZ.  About  ten  or  twelve  or  nine  or  sixteen  pounds,  I  guess. 

KID.  Let's  weigh  it.  I  can  tell  by  hefting  it.  (aside  to  LTZ)  Get  that 
dead  cat.  (Liz  runs  out  L.  1  E.  to  get  a  dummy  cat.  SCHULTZ  objects 
to  allowing  the  boys  to  feel  the  weight  of  the  turkey,  but  is  prevailed 
upon,  and  as  soon  as  the  KID  gets  it  he  quickly  exchanges  it  for  the 
dead  cat.  Liz  runs  out  'with  the  tin-key  L.  1  E.  and  the  KID  hands  the 
cat  to  SCHULTZ.) 

KID.  I  don't  believe  it  weighs  over  six  pounds. 

SCHULTZ.  I  don't  care  what  you  believe.  Now  I'll  give  this  to  my 
wife  and  get  it  roasted,  (starts  to  go  up  stairs)  Come  around  to-morrow 
and  I'll  give  you  some  of  the  stuffing  and  the  neck,  (boys  laugh  at  him 
as  he  goes  up  and  enters  his  room. ) 

MRS.  SCHULTZ  (rises).  Well,  where  have  you  been  ? 

SCHULTZ.  I  won  a  fine  turkey  at  a  raffle.  Here  it  is.  (gives  her  the 
dead  cat.} 

MRS.  S.  An  old  dead  cat !    How  dare  you  bring  such  a  thing  in  here, 


b  THE  YELLOW  KID. 

you  sauerkraut-headed  Dutchman?  (she  slaps  him  across  the  face  with 
the  cat,  then  they  exit  offx..  u.  E.  as  if  into  another  room,  quarreling 
with  violence.  Boys  laugh  at  the  couple's  quarrel  until  they  exit.) 

KID.  Say,  fellows,  let's  change  the  signs— Hogan's  for  Sciiultz's,  and 
the  Dutchman's  for  the  tinker's,  (boys  yell  with  delight.  They  exchange 
the  signs,  placing  SCHULTZ'S  for  HOGAN'S,  and  vice  versa.  Do  this  as 
quickly  as  possible.) 

As  soon  as  signs  are  changed  SCHULTZ  enters  his  room  and  begins  re 
pairs  on  an  old  shoe;  sits  on  bench,  talking  to  his  parrot,  ^saying, 
6 'Polly  wants  a  soda-water  cracker,"  etc.) 

SID.  Cheese  it!  Here  comes  some  one.  (boys  all  hide  L.  and  E.  as  a 
man  enters  L.  1  E.  with  an  old  tea-kettle.  Sees  sign  above.) 

MAN.  Hogan  !  Tinker!  That's  the  man  I  want,  (goes  up  stairs  and 
enters  SCHULTZ'S  room)  I  want  you  to  solder  a  hole  in  this  teapot. 

SCHULTZ.  I'm  a  shoemaker.     I  don't  fix  old  tin  cans, 

MAN.  Your  sign  says  you  do. 

SCHULTZ.  My  sign  says  "Schultz,  shoemaker."  I  know  what  my 
Sign  says— ain't  it? 

J&AN.  Your  name  is  Hogan,  and  you  are  a  tinker. 

SCHULTZ.  Who  is  Hogan?  I'm 'German  ;  I  ain't  a  mick.  (rises  in 
anger  with  awl)  Get  out  of  here!  I'm  no  Irish— I'm  no  tinker.  Get 
out!  Get  out!  (chases  man  out,  who  quickly  descends  steps.) 

MAN.  I'll  have  you  arrested  for  this.  [Exit,  L.  1  E. 

SCHULTZ.  Dot  Irishman  sends  him  up  here  to  play  tricks  on  me. 
Ah!  I'll  fix  him  some  time  yet.  (enters  room  and  resumes  work.) 

Boys  all  enter .  laughing.     The  KID  utters  a  peculiar  laugh  like  a 
high  screech  after  each  trick  and  when  he  enters. 

KID.  Oh  golly,  but  ain't  the  Dutchman  mad !  Hello !  Here  comes 
somebody  else.  Scoot, fellers,  scoot,  (they  all  hide  again.  Second  man 
enters  L.  1  E.  with  a  pair  of  boots. ) 

SECOND  MAN.  Ah!  (sees  sign)  "Schultz,  shoemaker."  That's  the 
fellow  I'm  after,  (passes  under  stairs  and  enters  HOGAN'S  room)  Hello, 
Schultz ! 

HOGAN.  Who  are  you  calling  Schultz,  and  what  do  you  want? 

SEC.  MAN.  I  want  a  patch  sewed  on  these  boots  right  away. 

HOGAN.  I'm  a  tinker — I  don't  mend  boots.  Go  out  of  here  wid  your 
joking. 

SEC.  MAN.  Your  name  is  Schultz,  and  you  mend  boots.  That's 
what  your  sign  out  there  says. 

ROGAN.  You  ought  to  go  to  school  and  learn  to  read.  My  name  is 
Ho^an. 

BEG.  MAN.  Your  name  is  Schultz,  and  you  mend  boots. 

HOGAN.  You're  a  liar  !  Get  out  of  here,  (grabs  hot  soldering  iron 
from  furnace  and  chases  the  man  out  or  room  and  out  L.  IE,)  Come 
back  here  again  and  I'll  throw  you  into  the  sewer.  My  name  is 
f^chultz,  is  it?  (burns  hand  with  hot  iron)  Ouch  !  I've  burnt  my  hand. 
(suddenly  sees  sign  over  his  room — goes  up  and  looks  at  it — takes  down 
I'ign — turns  it  iipside  down)  Well,  it  don't  spell  Hogan  that  way.  (sud- 
oe-ily  sees  his  sign  above)  Hello  there  !  (runs  up  steps)  Come  out  here ! 
Come  out  here !  ( SCHULTZ  comes  out)  Look  at  that  sign  ! 

SCHULTZ.  I  know  it's  there.  Mind  my  own  business  and  I'll  mind 
yours. 


THE    YELLOW    KID.  7 

HOGAN.  Here's  your  sign.  Sausagemaker !  Take  it.  Now  give  me 
mine. 

SCHULTZ.  Take  your  old  bunch  of  shamrocks  !  (they  exchange  signs) 
Now  go  down  stairs  quick. 

HOGAN.  Get  out,  you  Dutch  herring !     Go  get  your  hair  cut. 

SCHULTZ.  Get  out,  you  Irish  potatoes,  old  niicky,  St.  Patrick! 

HOGAN.  Don't  you  dare  come  out  on  St.  Patrick's  day  wid  that  yel 
low  hair  !  (they  work,  up  into  a  war  of  words.) 

SCHULTZ.  Go  into  your  cage,  you  baboon! 

HOGAN.  Get  in  the  sauerkraut  barrel  1 

SCHULTZ.  Bah!    Bah! 

HOGAN.  Bah  yourself,  you  Dutch  switzer  cheese.  These  foreigners 
make  me  tired,  (enters  Ins  room,  and  SCHULTZ  enters  his.  Boys  come 
out,  led  by  the  KID,  and  laugh  at  the  mischief  then  have  done.) 

KID.  Say,  fellers,  we  ain't  had  no  fun  with  the  Doctor.  We'll  knock 
at  his  door  and  run.  (all  go  to  the  DOCTOR'S  door  and  knock,  then  all 
run  across  stage  and  out  R.  1  E.  KID  shouts,  "Run,  Liz — run,  Liz," 
and  BALDY  shouts,  "  Scoot— scoot,  everybody ! "  DOCTOB  comes  from 
house— looks  about.) 

DOCTOR.  I  thought  somebody  knocked  at  my  door.  Imagination, 
perhaps — imagination,  (enters  house.  Boys  return  and  laugh.) 

KID.  We've  got  the  old  Doctor  started.  Now  let's  keep  it  up.  (all 
go  to  door,  knock  and  run  off  as  before,  with  the 'same  exclamations. 
DOCTOR  comes  out  quickly.) 

DOCTOR.  Ah  ha !  It's  that  Yellow  Kid  and  his  gang.  I'll  get  a  club 
and  lay  for  them,  (enters  house.  Boys  return  and  go  to  door,  knock 
again  and  scamper  off  as  before.  DOCTOR  dashes  out  with  club  and 
strikes  out  wildly  with  it,  and  hits  himself  in  the  face.) 

DOCTOE.  Ah !  I  nearly  had  them  that  time.  Now  I'll  lay  right  be 
hind  the  door,  and  this  time  I  won't  miss  them,  (chuckles  and  enters 
house.  Boys  return  laughing.) 

KID  (to  Liz).  Why  don't  you  keep  out  of  the  way,  Liz  ?  You  know 
you  can't  run.  (BALDY  is  over  R.  c.  Boys  all  sneak  to  DOCTOR'S  door 
at  KID'S  motions.  They  knock  at  door  and  run  off~R.  DOCTOR  comes 
out  and  beats  BALDY,  who  is  stooping  over  tying  his  shoe.  After  being 
struck  about  four  times  BALDY  looks  up,  sees  the  DOCTOR  and  dashes 
off' i*.  1  E.  DOCTOR  aims  a  blow  at  him,  misses  him,,  and  falls.  DOCTOR 
rises  and  exits  into  house,  all  doubled  up  and  limping.  Boys  return 
from  R.  and  BALDY  from  L.  1  E. 

BALDY.   Why  didn't  you  tell  me  he  was  hitting  me? 

KID.  Why  didn't  you  run,  like  the  rest  of  us  ?  Cheese  it !  Here 
comes  somebody  else. 

Enter  CRIPPLE,  L.  1  E.,  on  crutches,  and  both  feet  wrapped  in  linen. 

CRIPPLE.  Boys,  can  you  tell  me  where  I  can  find  Doctor  Pills? 

KID.  Eight  up  here.  Say,  boys,  we'll  knock  at  the  door  for  him. 
(thi'-y  lead  CRIPPLE  up  to  door  and  knock,  then  all  dash  pell-mell  off 
R.  1  E.  DOCTOR  rushes  out  with  club — beats  CRIPPLE  until  he  falls, 
then  beats  him  unmercifully  as  he  shouts,  "Oh,  Doctor,  don't!  "  DOC 
TOR  discovers  his  mistake,  helps  CRIPPLE  to  arise,  and  assists  him  into 
house,  vowing  vengeance  on  YELLOW  KID  and  all  his  gang.) 

Boys  return,  laugJi,  and  at  that  moment  WOMAN  enters  L.  1  E.  with 

baby. 

WOMAN.  Boys,  where's  the  Doctor's  office  ? 


8 


THE   YELLOW   KID. 


KID.  Right  up  here.  We'll  knock  at  the  door  for  you.  (they  lead 
her  to  DOCTOR'S  door  and  knock,  then  dash  off  R.  1  E.  DOCTOR  rushes 

out  with  club  and  beats  the  WOMAN  until  he  discovers  his  mistake 

apologizes  and  leads  her  into  house.  Boys  return  and  laugh  at  the 
success  of  their  tricks.} 

KID.  Say,  boys,  let's  have  fun  with  the  Dutchman's  parrot.  Polly 
wants  a  cracker.  I'll  give  it  a  cracker,  (shows  dummy  fire-cracker,  a 
bit  of  wood  painted  red,  with  a  real  fuse.  He  goes  up  steps,  then  lights 
the  fire-cracker  with  match,  places  it  in  parrot's  mouth,  and  hastens 
down  steps.  SCHULTZ  rises. ) 

SCHULTZ.  Those  bad  boys  might  play  a  trick  on  my  Polly.  I'll  take 
him  away,  (takes  parrot  off  perch,  turns  his  back  to  audience  and  goes 
up  to  table,  and  quickly  drops  the  parrot  behind  the  clock  and  seizes  a 
pistol,  fires  it,  and  at  the  same  time  throa-s  up  a  handful  of  feathers 
which  he  has  taken  out  of  a  box  behind  the  clock— then  he  turns  around 
looking  all  over  for  remains  of  parrot.  Boys  laugh,  dance  and  shout, 
"Polly's  got  a  cracker !  Polly's  got  a  cracker !  ") 

Enter  POLICE  OFFICER,  L.  1  E. 

OFFICER.  What's  going  on  here  ? 

KID.  The  Dutchman  has  shot  his  wife!  (OFFICER  goes  up  steps 
quickly,  and  boys  run  out  R.  and  L.  OFFICER  looks  into  SCHULTZ'S 
room.) 

OFFICER.  What's  the  matter  here  ? 

SCHULTZ.  Dem  boys  play  tricks  on  my  Polly.  My  Polly  is  flew  de 
coop ! 

OFFICER.   You  make  less  noise  or  I'll  pull  you  in. 

SCHULTZ.  Go  and  find  my  Polly.     I  want  my  Polly. 

OFFICER.  Don't  bother  me  with  your  Polly.  I'll  give  you  a  ride  in 
the  patrol  wagon  if  I  catch  you  outside,  (starts  to  come  down  stairs, 
when  the  stairs  are  flipped  and  he  tumbles  down  and  sprawls  on  the 
ground — rises  and  capers  about.) 

Enter  SECOND  POLICE  OFFICER,  L.  1  E. 

SECOND  O.  What's  the  matter  ? 

FIRST  O.  That  Dutchman  up  there  is  shooting  off  pistols.  Go  up 
and  make  him  stop  it. 

SEC.  O.  You  bet  I  will,  (goes  up.  FIRST  O.  laughs  and  keeps  saying 
to  audience,  "Watch  him  come  down  those  stairs.  Oh,  they  won't  do 

a  thing  to  him."    SECOND  O.  in  the  meantime    is  talking  to  SCHULTZ 

warning  him  to  keep  quiet  or  he'll  arrest  him,  and  wants  no  back  talk. 
Then  he  descends  steps.  They  do  not  flip  with  him,  and  he  comes  to 
FIRST  O.,  who  is  in  a  fit  of  laughter,  and  taps  him  on  the  shoulder. 
He  looks  up  and  is  thunderstruck  to  see  that  SECOND  O.  did  not  tumble 
down  the  stairs.  He  looks  very  doleful  and  disappointed.) 

FIRST  O.  How  did  you  come  down  stairs? 

SEC.  0.  On  my  feet     How  did  you  come  down? 

FIRST  O.  On  my  neck!  I'd  rather  come  down  that  way— it's 
quicker.  [.They  exit  arm  in  arm,  L.  1  E 

(Boys  all  come  out  and  laugh  at  POLICEMAN'S  mishap.) 

KID.  Did  you  see  the  cop  skate  on  his  ear  ? 

Enter  WOMAN,  L.  1  E.,  with  five  rolls  of  dummy  butter  in  Jier  basket. 
Boys  stop  her,  c. 

WOMAN.  Do  you  want  to  buy  any  butter?  (Boys  ask  the  price,  the 


THE   YELLOW   KID.  fj 

quality  and  the  strength  of  butter,  just  to  attract  her  attention  and 
steal  it  out  of  her  basket,  tioon  as  it  is  all  taken  out  tlte  KID  exclaims, 
"  We  don't  eat  butter  ! ") 

WOMAN.  If  you  ever  stop  me  again  I'll  have  you  all  arrestedi 

[She  exits,  E.  1  E. 

KID.  Now,  boys,  we'll  grease  the  sidewalk  and  the  steps,  and  shout 
fire !    Everybody  will  run  out  and  break  their  necks. 

KID  and  BALDY  grease  the  stage  in  front  of  stairs,  the  other  boys  grease 
the  stairs.  Then  KID  and  BALDY  slip  and  fall  all  over  the  stage 
until  Policemen  enter  L.  1  E.  Police  attempt  to  drive  the  boys  off, 
but  they  fall  on  greased  places.  The  Butter  Woman  runs  on  B.  1 
E.  and  falls. 

At  this  moment  red  fire  is  lighted  in  SCHTTLTZ'S  room,  and  a  cry  of  fire 
is  raised  by  boys  and  people  in  house.  Policeman  runs  up  steps, 
SCHULTZ  throws  mattress  out  and  HOGAN  dashes  up  steps  to  save 
property.  Then  everybody  comes  dou'n  the  slippery-day  stairs  in 
the  following  order,  stairs  being  flipped  for  each  :  First,  the  Po 
liceman,  then  HOGAN,  then  SCHULTZ,  -who  rolls  over  and  over  after 
falling;  then  Liz  comes  down  the  stairs,  she  having  gone  above 
from  wings  for  that  purpose.  As  soon  as  Liz  comes  down  the 
stairs  BALDY  swings  out  from  R.  1  E.,  clinging  to  handle  of  an 
opened  umbrella,  which  enables  him  to  be  about  four  or  jive  feet 
above  stage.  YELLOW  KID  pelts  everybody  who  falls  down  stairs 
with  butter  balls. 

As  soon  as  BALDY  swings  across  stage  clinging  to  umbrella,  ring  down 

CURTAIN. 


A  PLAY  IN  FOUR  ACTS. 
BY  CLIFTOIST  W.  TAYLEUR. 

•Six  male,  four  female,  characters.  A  play  written  in  the  same  vein 
as  "  Held  by  the  Enemy,"  "Shenandoah,"  "  Across  the  Potomac,"  and 
other  great  New  York  successes.  Mr.  Tayleur  has  written  many  suc 
cessful  plays  for  Maggie  Mitchell,  Frank  Cbanfrau,  and  others,  but 
this  striking  picture  of  the  stirring  times  of  the  Great  Rebellion  sur 
passes  them  all.  Costumes,  civil  and  military  of  the  period.  Scenes, 
two  interiors,  and  one  landscape  with  Confederate  camp,  easily  man 
aged.  Time  of  playing,  two  hours  and  thirty  minutes. 

PRICE 25  CENTS. 


SYNOPSIS  OF  EVENTS. 

ACT  I.— Drawing-room,  Arlington,  Washington— 1860. 

"  Whom  first  we  love,  you  know,  we  seldom  wed  ; 
Time  rules  us  all:  and  life  indeed  is  not 
The  thing  we  planned  it  out,  ere  hope  was  dead, 
And  then,  we  women  cannot  choose  our  lot." 

In  fetters— The  rivals— North  and  South— The , coy  widow— A  noted 
duelist— An  old  affection— The  dismissal— The  rivals  meet — "You 
shall  answer  for  this  " — Farewell. 

ACT  II— Same  Scene— 1860. 

"  Who  might  have  been—Ah,  ivhat,  I  dare  not  think  I 

We  all  are  changed.     God  judges  for  the  best. 
God  help  us  do  our  duty,  and  not  shrink, 
And  trust  in  Heaven  humbly  for  the  rest. 

Broken  tios — A  Vassar  girl's  idea  of  matrimony— A  Washington 
savage— Schooling  a  lover— Affairs  of  honor— The  Northern  fire-eater— 
The  missing  challenge — Betrothed. 

ACT  III.— Drawing-room  in  New  York  Hotel— 1861, 

"  With  bayonets  slanted  in  the  glittering  light 

With  solemn  roll  of  drums. 
With  starlit  banners  rustling  wings  of  night, 
The  knightly  concourse  comes.'' 

To  arms1.  To  arms ! — Stand  by  the  flag — A  woman's  duty — A  skirm 
ish  in  the  parlor— On  to  Richmond — Reunited— The  passing  regiment 

ACT  IV.— Confederate  Camp  at  Winchester— 1864. 

"  No  more  shall  the  war  cry  sever,  or  the  winding  river  be  red ; 

They  banish  our  anger  forever,  when  they  laurel  the  graves  of  our  dead." 

A  coward's  armor— A  hand  to  hand  struggle— Hugh  captured- Sen 
tenced  to  be  shot— A  ministering  angel— Harold  King's  revenge— The 
attack  on  the  camp— Death  of  King— After  the  battle— Won  Back. 

Single  copies  sent,  post-paid,  to  any  address,  on  receipt  of  price. 


CHRISTMAS  PLAYS 

rou 

Homes  and  Parishes. 

collection  of  Plays  and  Entertainments  specially 
arranged  for  Church  and  Home  Amusement 
at  Christmas-tide. 


Any  of  the  above  can  be  successfully  used  at  any  other  season  than 
Christmas,  they  being  so  arranged  that  the  part  relative  to  Christmas 
can  be  omitted. 

The  Plays  are  very  bright  aiid  attractive,  and  all  permit  the  employment  of 
«|uite  a  number  of  juvenile  characters  who  do  not  have  long  and  difficult  "parts  " 
to  commit  to  memory.  The  arrangements  for  Scenery  are  simple  and  inexpensive, 
§Dd  the  Stage  Directions  are  so  full  and  explicit  that  the  merest  tyro  in  amateur 
theatricals  will  experience  no  difficulty  in  comprehending  them. 


I»rice  J35   Cents. 


MRS.  JARLEY'S  WAX  FIGURES. 


Not  the  worn-out  "original,"  but  a  fresh  version,  introducing  new 
Characters  and  fresh  descriptive  matter,  and  giving  a  diagram  of  the 
*tt*ge  set  and  the  arrangement  of  the  figures,  with  full  directions  for 
the  costumes  and  "make-up  "  of  all.  Requires  six  male  and  six  female 
tharacters,  and  makes  an  entertainment  of  about  an  hour  in  length. 


3?rice    15    Oents. 


J|(g-Single  copies  of  either  of  the  above  books  sent,  post-paid,  on  receipt  of  price. 


BROKEN  FETTERS. 

A    DRAMA,    IN    FIVE    ACTS, 


BY   CHARLES    TOWNSKND. 

AUTHOR    OF    "BORDER   LAND." 


PRICE,  25  CENTS 


Seven  male,  three  female  characters  :  leading  and  second  juvenile  h, 
society  villain,  eccentric  comedian,  utility,  two  character  parts  (Iri  ,nc! 
German),  comic  old  woman,  juvenile  lady,  and  soubrette.  Costumes  mouern; 
scenery,  all  interiors.  Time  of  playing,  two  hours  and  twenty  minu1 

"Broken  Fetters"  was  written  for  the  special  use  of  Amateur  Dramatic 
Clubs,  and  can  be  played  in  any  hall  or  on  any  stage,  as  no  special  -enery 
or  costumes  are  required.  > 

It  is  the  greatest  Temperance  Play  ever  published,  and  abound;  in  keen 
wit,  bright  humor,  and  genuine  pathos. 

It  is  rapid  in  action,  and  the  interest  never  flags,  as  every  -  .racter, 
without  exception,  is  first-class. 

It  is  pure  as  crystal  in  word  and  action. 

Every  act  has  a  powerful  ending,  and  the  final  climax  never  fails  to 
create  a  whirlwind  of  excitement. 

The  interest  in  the  play  is  not  confined  to  temperance,  as  the  founda 
tion  of  this  drama  rests  on  woman's  faith,  man's  villainy,  and  the  value  of 
true  friendship— qualities  which  never  fail  to  interest. 

"Broken  Fetters  "  has  won  immediate  success  wherever  it  has  been  played. 

A  special  feature  is  a  chapter  entitled  "  Remarks  on  the  Play." 
This  chapter  contains  full  and  explicit  instructions  for  making-up  and 
acting  each  character.  It  tells  how  to  line  the  face,  how  to  use  the  voice, 
and  how  to  dress  the  part.  It  describes  the  peculiarities  of  each  char 
acter  in  the  play,  and  tells  how  to  bring  them  out  with  the  best  effect  The 
questions  of  vocal  power,  gesticulation  and  stage  business  are  considered 
act  by  act  ;  and,  indeed,  nothing  is  left  undone  to  aid  the  performers  in 
correctly  representing  the  characters  assumed.  This  chapter  alone  is  worth 
many  times  the  price  of  the  play,  and  will  be  appreciated  by  every  amateur 
in  the  country. 

Single  copies  sent  post-paid  to  any  address  on  receipt  of  price.     Address 

The  Detfitt  publishing  Honfo 

f.  o  BOX  2*0*  33  ROSE  STREET,  NEW  YORK. 


•«= 


ETHIOPIAN  AND  COMIC  DRAMA. — Continued. 

3 


49.  Nicrht  in  a  Strange  Hotel,  Ethiopian 

sketch 2 

Noble  Savage,  Eth.  sketch 4 

Norah's  Good  Bye,  Irish  musical 

sketch 2 

To  Pay  No  Cure,  Eth.  sketch 5 

beying  Orders,  Eth.  sketch 2 

00th  Night  of  Hamlet,  Eth.  sketch  7 
i,  Hush!  operatic  olio,  3  scenes.  4 
le  Night  in  a  Bar-Room,  Eth. 

ketch 7 

li         .e  Night  in  a  Medical  College, 

•tth.  sketch 7 

7t         .,  Two,  Three,  Eth.  sketch 7 

91         ^ter's  Apprentice,  Eth.  farce...  6 
87.  Pete  and  the  Peddler,   Eth.  and 

?h  sketch 2 

135.          'ant  Companions,  Eth.  sketch.  5 

92.  Polar  Bear,  Eth.  farce 4 

9.  Po    'v  players,  Eth.  sketch 7 

67.  F        *y's  Patients,  Eth.  interlude, 

nes 6 

65.  Po.      's  Troubles,  sketch 6 

66.  Port  Tine  vs.  Jealousy,  sketch...  2 
115,  Priv     i  Boarding,  farce 3 

14.  Re<       "ing  Office,  Eth.  cketch 6 

105.  Rel        aal  (The),  Irish  farce,  2  sc..   4 

45.  Rer        nee  from  Home,  Ethiopian 

st 6 

55.  Rii     ig  a  Purchase,  Eth.  sketch..  3 

81.  Rival  Artists   Eth.  sketch 4 

26.  Rival  Tenants,  Eth.  sketch 4 

138.  Rival  Barbers'  Shops,  Eth.  farce..  6 

15.  Sam's  Courtship,  Eth.  farce 2 

59.  Sausage  Makers,  Eth.  sketch,  2  sc.  6 
21.  Scampini,  pantomime,  2  scenes. . .  6 

160.  Scenes  in  Front  of  a  Clothing  Store, 

farce 7 

80.  Scenes  on    the   Mississippi,  Eth. 

sketch,  2  scenes  — 6 

84.  Serenade  (The),  Eth.  sketch,  2  sc..  7 


F.  !  No.  M.  F. 

38.  Siamese  Twins,  Eth.  sketch,  2  sc..  5 

74.  SleepWalker,  Eth.  sketch,  2  scenes  3 

46.  Slippery  Day,  Eth.  sketch 6    1 

69.  Squire  for  a  Day,  Eth.  sketch 5    1 

56.  Stage-struck  Couple.Eth.  interlude  2    1 
72.  Strangers,  Eth.  burlesque 1     1 

1      13.  Streets  of  New  York,  sketch 6 

1      16.  Storming  the  Fort,  sketch 5 

1        7.  Stupid  Seavant,  sketch 2 

121.  Stocks   Upl    Stocks  Down!    Eth. 
farce 2 

154.  Sulphur  Bath,  Eth.  farce 3 

47.  Take  It,  Don't  Take  It,  Eth.  sketch  2 
54.  Them  Papers,  Eth.  sketch 3 

100.  Three  Chiefs,  Eth.  sketch,  2  scenes  6 

102.  Three  A.  M.,  sketch,  2  scenes 3    1 

1      34.  Three    Strings  to  one  Bow,  Eth. 

1  sketch 4    1 

1    122.  Ticket  Taker,  Eth.  farce 2 

2.  Tricks,  Eth.  sketch 5    2 

104.  Two  Awfuls,  Eth.  sketch 6 

6.  Two  Black  Roses,  Eth.  sketch 4    1 

1      28.  Uncle  Eph's  Dream,  Eth.  sketch,  2 

1  scenes 3    1 

3    156.  toited  States  Mail.  Eth.  farce 2    2 

134.  Unlimited   Cheek,  Eth.  sketch 4    1 

62.  Vinegar    Bitters,  Eth.  sketch 6    1 

32.  Wake    up,    William    Henry,  Eth. 
sketch 3 

39.  Wanted,  a  Nurse,  sketch 4 

75.  Weston,  theWalkest,  Dutch  sketch  7 
93.  What  Shall  I  Take?  Eth.  farce 7 

1      29.  Who  Died  First?  Eth.  sketch 3 

1      97.  Who's  the  Actor  ?  Eth .  farce 4 

1    137.  Whose  Baby  is  it?  Eth.  sketch. .   .  2 

3    143.  Wonderful  Telephone,  Eth.  sketch  4 

99.  Wrong  Woman  in  the  Right  Place, 

sketch,  2  scenes 2    2 

85.  Young  Scamp,  Eth.  sketch 3 

116.  Zacharias'  Funeral,  Eth.  farce....  6 


-*-  Complete  Descriptive  Catalogue  of  De  Witt's  Acting  Plays  and  De  Witt's 
Ethiopian  and  Comic  Drama,  containing  Plot,  Costumes,  Scenery,  Time  of 

Representation,  and  all  other  information,  mailed  free  and  post-paid  on  application. 

Address  as  on  First  Page  of  this  Catalogue. 


PANTOMIME   PLAY, 

"HUMPTY   DUMPTY." 


The  celebrated  Pantomime,  as  originally  played  for  1,MO  nights  by  the 
late  GEORGE  L.  Fox.  Arranged  by  John  Benior,  Bs%.  Bight  male, 
four  female  characters. 

Price,  25  Cents. 


F-J 

A 


HOW 
TO 

MANAGE  AMATEUR  j*  ^ 
^t  jt  j*   jfc  THEATRICALS/ 

An  Indispensable  Book  for  Amateurs. 
Plain  instructions  for  constructing  and 
arranging  stage,  making  scenery,  getting 
up  costumes,  making  op,  producing  stage 
illusions  and  effects,  etc.,  together  with  many  valuable  suggestions  for 
managers  and  players.    Handsomely  illustrated  with  six  colored  plates. 
Price,  Twenty-five  cents  each.  ,^tv^t£»«£"«£*««£"«£*«£**^«£*«£*«^* 


DE  WITTS 

SELECTIONS  FOR  AMATEUR  AND 
&  &  PARLOR  THEATRICALS. 

&  <£   Nos.  J,  2,  3»  4   and  5*   *£  <£ 

Comprising  the  choicest  selections,  from  the 
very  best  dramas,  comedies,  tragedies  and 
farces,  both  modern  and  classic,  especially 
adapted  for  presentation  by  amateurs,  and 
for  parlor  and  drawing-room  entertainments. 
k  Price,  Twenty-five  cents,  each  number.  ^ 


THIS  BOOK  IS  DUE  ON  THE  LAST  DATE 
STAMPED  BELOW 

RENEWED  BOOKS  ARE  SUBJECT  TO  IMMEDIATE 
RECALL 


LIBRARY,  UNIVERSITY  OF  CALIFORNIA,  DAVIS 

BookSlip-50m-5J'70(N6725s8)458 — A-31/5 


N?  772119 

Dumont,  F. 

The  Yellow  Kid  who 
lives  in  Hogan's  Alley 


FN6120 

V3 
D83 


LIBRARY 

UNIVERSITY  OF  CALIFORNIA 
DAVIS 


